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Lisa Larsson
La captive
HECTOR BERLIOZ
Antonello Manacorda
Het Gelders Orkest
1
Lisa Larsson
La captive
HECTOR BERLIOZ
Antonello Manacorda
Het Gelders Orkest
HECTOR BERLIOZ
(1803 – 1869)
Herminie, scène lyrique
(1828)
[1]
Récit: Quel trouble te poursuit
[2]
Air: Ah! Si de la tendresse
[3]
Récit: Que dis-je?
[4]
Air: Arrête! Arrête! Cher Tancrède
[5]
Air: Venez, venez, terribles armes!
[6]
Prière: Dieu des chrétiens
[7]
La Captive, opus 12
(1832)
3:39
3:33
1:15
5:09
1:54
5:35
7:27
La mort de Cléopâtre
(1829)
[8]
Allegro vivace con impeto – Récit. C’en est donc fait! 
[9]
Lento cantabile. Ah! qu’ils sont loin ces jours,
tourment de ma mémoire
[10]
Méditation. Largo misterioso. Grands Pharaons, nobles Lagides
[11]
Allegro assai agitato. Non!… non, de vos demeures funèbres
3:16
6:07
3:57
6:42
total time 48:51
4
Have you ever heard of Jean-Baptiste Guirod, Giullaume Ross-Despréaux
or Eugène Prévost? Apart from Prévost, perhaps, they have mostly been
consigned to the depths of oblivion. But these were composers who won the
coveted Prix de Rome, an award that had been instituted by Napoleon himself
in 1803, in the period from 1827 to 1829. And in doing so, they whipped the
prize right out from under the nose of Berlioz, who had competed for it just as
often as they had. It might offer Berlioz some – posthumous – solace to know
that he was in excellent company; Ravel, Debussy and Bizet were also to be
denied the prize. The judging system for the prize, which offered little scope
for groundbreaking composers, has come in for severe criticism over the years.
In the words of Edgar Varèse, the prize ‘produced so much insipid fruit that
nowadays we can barely even remember their names’. It was Berlioz himself, in
his highly readable and entertaining autobiography, who explained all about
the prize’s requirements and what the prize itself involved. The winner received
an allowance for five years, but this was on condition that he would spend
the first two years at the Académie de France in Rome, use the third year for
travelling through Germany and survive the remaining two years ‘doing what he
could to promote himself and avoid dying from hunger’ in Paris.
Before winning the prize in 1830 with the fairly scholastic cantata
La mort de
Sardanapale,
Berlioz had already submitted attempts in the form of La mort
d’Orphée (1827),
Herminie
(1828) and
La mort de Cléopâtre
(1829). In 1827,
his
Mort d’Orphée
had been condemned as unplayable by the pianist who
had to perform the piano reduction – one of the jury’s requirements. Berlioz
seems to have been slightly more successful in the following year: the piano
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